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Posts posted by seattlesteve

  1. Great song, they also colloborated on High Cost of Loving You, check out an impromptu jam at Seths birthday party in his house, playing acoustic singing Beatles and Monkee songs with Davy Jones, I posted in the EC youtube forum.

  2. Yes, but it only went to #39, however Bat out of Hell album is in the top 5 sales ever in America. Wonderful album.

    Interesting Clive story below. Also Steinman and Meat were rejected by dozens of labels, and there are many E-Street connections, and it took Todd Rundgren to produe it, and a small Cleveland label. Trivia: The "motorcycle reving) you hear on the title song was actually Todd on guitar.

    Steinman and Meat Loaf had immense difficulty finding a record company willing to sign them. According to Meat Loaf's autobiography, the band spent most of 1975 writing and recording material, and two and a half years auditioning the record and being rejected.[6] Manager David Sonenberg jokes that they were creating record companies just so they could be rejected.[7] They performed the album live in 1976, with Steinman on piano, Meat Loaf singing, and sometimes Ellen Foley joining them for "Paradise". Steinman says that it was a "medley of the most brutal rejections you could imagine."[8] Meat Loaf "almost cracked" when CBS executive Clive Davis rejected the project.[4] The singer recounts the incident in his autobiography. Not only did Davis, according to Meat Loaf, say that "actors don't make records", the executive challenged Steinman's writing abilities and knowledge of rock music:

    Do you know how to write a song? Do you know anything about writing? If you're going to write for records, it goes like this: A, B, C, B, C, C. I don't know what you're doing. You're doing A, D, F, G, B, D, C. You don't know how to write a song... Have you ever listened to pop music? Have you ever heard any rock-and-roll music... You should go downstairs when you leave here... and buy some rock-and-roll records.[9]

    Meat Loaf asserts "Jim, at the time, knew every record ever made. [He] is a walking rock encyclopedia." Although Steinman laughed off the insults, the singer screamed "Fuck you, Clive!" from the street up to his building.[10]

    Personally I think Steinman was brilliant.

    Eric dust off "Devil"

  3. My guess is that Ringo wrote the title, probably uttered the phrase It Don't Come Easy and George thought.. ooh, there's a song, not unlike when after a long day he uttered the immortal words it's going to be a hard days night, and Paul and John looked at each other and said ooh...

    The arrangement has a bit of a My Sweet Lord feel.

    George is credited as co-writer of Ringo's Photograph, but again..

  4. Songwriting credits. It is widely believed that George played a much larger role in Ringo's It Don't Come Easy than producer, he legitamely helped write it, or most of it. He is not credited as he simply gave it away to his bud, a kindered sole who at the time also knew what it was like to be overshadowed. Google it, and you can find a cool version of George singing my favorite Ringo song. Eric would have the actual scoop on this since he's played on this song live and shared some pub time with Ringo.

  5. I believe Layla actually was originally composed as a ballad for George's wife until Allman got a hold of the intro.

    George helped a lot to knock out Claptons Cream song, Badge, when Clapton was hungover and under pressure to show up at rehearsal with a commercial song,(Ringo came over drunk and even added a line, swans in the park). In fact the song is called Badge because Clapton couldn't read Gerge's handwriting where he inserted the word "bridge" into the middle of his song notes

    and of course it's widley known who played the solo's on Georges While My Guitar Gently Weeps. Amazing, Clapton took his wife but they remained close friends. Clapton also wrote Wonderful Tonight about her.

  6. Well I tried so hard to be the one

    That you were dreaming of

    But I guess it wasn't quite enough

    To make you fall in love

    Making a point in the fewest words possible, to me, is the lyrical genius. (It would take Eminem a 500 word essay to convey the same point sans melody)

    I openly admit I'm not sure if I can seperate the melody from the lyrics, but i sure like it.

  7. Makes perfect sense. There are many famous long time studio musicians that add to the arrangement with their instumental stylings, and in many cases are more talented than the very band members they are assisting (which is why they are called in) , and they have no preconceived notion of getting cut into any composition copywrite based on their instrumental skill. Just have a check for them on Friday.

  8. It's a dicey situation when you're writing with a band, that you have to live and perform with. Someone like Kara Diguardo can write a song with others, and submit it to the machine hoping that Carrie, Leanne, Celine, etc. pick it up, but it's much less personal.

    So if you write 15 or 20% of the song legitamently can you copywrite percentages of songs, or is always equal?

    Lennon-McCartney had a very unusual copywrite partnership. They were so competitive, wrote together, wrote separate, but quietly knew, the other was going to write as much as me.

    They as kids agreed to 50-50 on everything, particpated or not, and knew it would average out, or perhaps, as kids, they weren't sure who would have more hits, and half of everything ain't bad.

    EG: Lennon wrote A Day in the Life, but had no bridge, Paul had a bridge, because it was a song he had been working on, but turned his song into John's bridge. Technically, Paul should get maybe 20% credit. Why didn't John complain? Yesterday. John had nothing to do with Yesterday, and I don't even think he played on it.

    Overall their songwriting production did even out, probably not unlike Jagger-Richards, Frey-Henley.

    The problem is, though there are exceptions, Play On with Scott, Nobody Knows with Dave, or Don't Want to say Goodbye, with Wally, it still had to be pretty clear where the majority of the songwriting production (or at least what Capitol wanted to keep coming out) was going to come from, and splitting future copywrites equally carte blanche didn't make sense.

    When you can knock out Let's Pretend and IWTBWY in the same weekend..

    But Eric, does the system allow for credit uneven percentage splits should the songwriters actually agree in advance?

  9. Scotts "Thanks for the Ride" was most definately aimed at Eric, for his recommendation to join the band, and songwriting partnership (Play On)

    IMHO, that was a kindered sole relationship, and there were many umborned songwring hits that could have come in a different world, wait a minute...

  10. This has been discussed many times before, but for anyone new...

    Eric found it as a song to hang yourself by (though I believe it's one of his personal favorite compositions, including Bernie), over the years he was amazed that some of us, me included, found it positive, ("But tomorrow...")

    (btw, it's jaw dropping live)

    Eric, I think you should come full circle and write "Boats with the Current"), and have a studio reunion of Ricky and the Tooth, the orignal inspiration.

  11. The angst of not getting along can actually lead to composer creativity. Lennon and McCartney were quite more competive than most realize, though they had a period where they wrote together, and also literally helped each other finish songs that had met a brick wall, they wanted the next single, which made them try harder. Unfortunately George was left in the dust until, Weeps and Something.

    Eric talks about "Stale". It's actually a compliment. If the group breaks up and you still write about each other, mean or nice, it means youre still relevant. Being ignored is the worse outcome.

    John came out of the chute and wrote a non-cryptic song on his solo album called "How Do You Sleep" complete with album graphics making fun of "Ram". which included Pauls solo song, "Too Many People" aimed at John. There are more both ways but the ultimate might be Pauls, "Silly Love Songs" which was written around a negative quote by John and went on to be a hit single.

    Apparently, Pauls "Let Me Roll it" was his olive branch to John. Nevertheless, when Paul showed up unannouced at Johns Dakota apartment with his guitar on his back, and they buried the hatchet that night, Sat night Live did a sketch of offering the Beatles $1,000 to reunite (you can give Ringo less), apparently they were so close to catching the 10 min cab ride and showing up, but didn't, probably too impaired.

    I love No Hard Feelings 'cause it's a three open chord song I can play, most of Erics songs are an amateurs acoustic guitar players nightmare.

  12. Alice Cooper and Kiss.. they both were breaking loose as I was a senior in high school in 75. Neither was my stage vibe, BUT, back then it was not uncommon to love a song coming off my 65 Mustand AM Delco radio with no idea what the band or artist looked liked.

    April 75, last day of high school, my buddy says I'm driving today, I say OK, and he says I have a special cassette I made for you, cool, but we can't play it until the way home. OK. So we jump into his Chevelle after school and he puts on "Schools Out" and I thought great song. Favorite line, "we can't even think of anything that rhymes".

    Later that summer "Rock and Roll All Night" came out and I loved it long before I knew what Kiss looked liked.

    Bottom line. A good song/perfomance is good, without the Entertainment Tonight personality angle.

    They both belong in the Rock.

    So does EC. ABM is our Yesterday.

  13. "critics loved us but we were making 50 cents"

    Just like a marraige, money is a hard wedge, that fans the flame., Keith and Mick have tested the waters, and realize individually they aren't even close fiscally (and probably creatively) to what they are together. If the 'berries were making money hand over fist, seems to me that some disagreements would have been overlooked, and with label support, they probably could have been on the verge of their 5th album being their Sgt Pepper/Pet Sounds trophy.

    Great lyrics, I treat NHF as a cool proactive olive branch to the band as everyone takes on a new chapter, not better, just different, and an acknowledgement that we all got collectively screwed, no bad guys. My question.. Eric, what was the band feedback from that song at the time? Did you have any?

  14. I checked further, you are right. Even the rockhall.com official site will not show Carole King alphabetically in the K's, she is an aside with Goffin in the G's as a non-performer. Tapestry is #3 ever for weeks on the charts. Seems she might be considered as a performer, good timing while she is touring with James Taylor currently.

  15. James, agreed ABM has become the new ballard standard that "Yesterday " held. Check out Eric's royalty checks. It has far more song placement today than it did in the day. Kind of like Kevin Cronin's "Can't Fight This Feeling" (my wedding song in 86)

    I checked, Carole Kings "Tapestery" was on the charts for 304 weeks. Let's see anyone ever do that again. She belongs just for Tapestry, but...

    BEFORE Tapestry, she wrote "Will You Love Me Tomorrow" at the age of 18, she wrote and gave away Locomotion, Pleasant Valley Sunday (#3) Go Away Little Girl (Donny), One Fine Day, Natural Women (Aretha) , and many more.

    Tapestry was the top selling solo album ever, until that one glove guy came around with Thriller.

    However it's not the record, and no it's not the Beatles (they kept cranking out albums, competing with themselve) This is unbelievable and will never happen again (like Wilt Chamberlain getting 100 points in 1 game) Pink Floyd's, "Dark Side of the Moon".. 761 weeks!

    Pink is in, Carole should be too..

  16. If I went into Times Square today with my clipboard, and stopped 500 people and asked them to name one Parliment or Grandmaster Flash song, any, how full would my clipboard be?

    Now look again at my list, and how much room these guys that still aren't in took up on Billboard charts... ridiculous.

    Another irony. Read the vintage early 70's clippings where a common thread was calling the Raspberries "derivitive", now in hindsight with the benfit of perspective the very same compositions are now considered "influential". Go figure.

  17. I definately hear some Tiny Dancer inspiration, and it's no secret that one of Erics favorite live concerts was Eltons Yellow Brick tour.

    Bruces pianist, "the professor" worked with Todd Rundgren in Cleveland on Meat Loafs break out album. He's the keyboard appreggio master, Todd was hanging around those studios too.

    Besides Jungleland, I think Bruces opening to Born to Run, has some of Erics I Wanna Be With You intro influences as well, same album.

  18. Most people know All By Myself reached #2 on the weekly Billboard, but some don't know what songs kept it from #1

    The week of March 6, 1976 ABM first reached #2 with the Miracles "Love Machine" at their only week at #1. ABM stayed at #2 for three weeks, so what happened when Love Machine dropped to #3 the following week? Frankies "Oh What a Night" leaped from #3 to #1 and kept Eric out of the top spot for the next 2 weeks.

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